Inspire Issue 38 English.pdf - Iggesund

A magazine from Iggesund Paperboard Issue 38 • 2011

CONTENTS #38
4 bad habit leaves footprint
The bad habit of wasting food is a matter of serious
environmental consequences. Smaller packaging
might be the key.
6 12 months of seduction
By giving its customers a calendar with 12 erotic
lingerie images, Aubade becomes a partner in their
seduction.
8 obsessed with a brand
Extreme brand loyalty makes consumers sacrifice
functional value for symbolic value.
13 the black box project
Rustic Italian cooking is side by side with the
ancient and magic art of tarot in Iggesund
Paperboard’s black box campaign.
16 a symbol of pleasure
The perfect chocolate truffle is the result of sense
and sensibility – and a perfect cocoa bean.
20 packaging fendi fragrance
The packaging is the most important marketing
element in making a perfume an object of desire.
22 desired objects
A package for a hunting knife, a gift pack with art
cards and packaging for fine-tasting marzipan.
24 design from waste
When Erik Thorstensson creates new producs from
industrial waste, imagination is the only limit.
13
avant-card
Marc Benhamou gets mystical
for the Black Box Project.
16 8
4

Inspire, a source of inspiration,
provided by Iggesund Paperboard,
home of Invercote and Incada.
ADDRESS
Iggesund Paperboard
SE-825 80 Iggesund, Sweden
phone: +46 650 280 00
fax: +46 650 288 21
www.iggesund.com
PUBLISHER
Carlo Einarsson
(responsible under Swedish press law)
EDITOR IN CHIEF
Elisabeth Östlin
elisabeth.ostlin@iggesund.com
EDITORIAL COMMITTEE
Winnie Halpin, Wout van Hoof, Astrid Korf,
Véronique Lafrance, Didier Saindon,
Ian Harris, Staffan Sjöberg, Elisabeth Östlin
PUBLISHING AGENCY
Appelberg
PO Box 7344, SE-103 90 Stockholm
MANAGING EDITOR AND
PROJECT MANAGER
Karin Strand phone:+46 8 406 54 13
inspire@appelberg.com
ART DIRECTOR
Fredrik Andersson
LAYOUT
Lena Palmius
EDITORS
Alessia Wistén, Linas Alsenas
LANGUAGE COORDINATOR
Helena Åkesson
PREPRESS
Appelberg
CONTRIBUTORS
Claudia Flisi, Anne Hammarskjöld, Jocelyn
Hanamirian, Anna McQueen, Eddie de
Oliveira, Nancy Pick, John Scott Marchant
PHOTOS
Maurizio Camagna, Jonny Lindh,
Martin Sundström, Axel Öberg
ILLUSTRATIONS
Kari Modén, Team Hawaii
PRINTING
Strokirk-Landströms, Lidköping
Strand Grafiska, Malmö (cover)
ISSN
1404-2436
Inspire is printed in English, Chinese,
French, German and Swedish.
Inspire aims to inform and entertain with
stories and photos that are not restricted to the
scope of Iggesund’s own business. As its name
suggests, the idea is to be inspirational and
not to infringe on a company or person’s image
rights or intellectual property. Products that
are made with Invercote, Incada and other paperboard
from Iggesund are marked in the text.
A DESIRED
A DESIRED
DEFINITELY
OBJECT
WITHIN THE PAPERBOARD industry
development typically results
from a series of small, systematic
steps and incremental improvements,
many of which only
become noticeable over time.
At Iggesund Paperboard we
tend to take pride in continually
developing our products without
beating the drum, renaming
products or making a fuss about
anything. Our philosophy is that
our customers will always get a
better product.
But when you are constantly
immersed in a world of small
developments, it is much more
exciting to be involved in a really
big step. This is the issue we are
facing at Iggesund paperboard
mill in Workington, where we
now have to make a major change
to our energy system. Our production
is powered exclusively
by fossil fuels, but we are investing
108 million GB pounds in
making a radical shift to green
bio-energy.
In this way, Incada will be able
to provide an even better performance
for its customers from an
environmental perspective when
all fossil emissions disappear from
production. For Iggesund Paperboard,
this means making use of
two of the paperboard mills in the
world that emit the least fossil
carbon dioxide.
Appropriately, we have decided
that “lust and desire” will be
the theme of this issue of Inspire.
For all of us who work at Incada,
the biomass boiler is certainly a
“desired object”.
You can, however, immerse
yourself in other desirable objects
that are not so industrial in nature,
such as exclusive chocolate, highly
desirable lingerie, the design of
perfume packaging and the question
of why people become devoted
followers of certain brands.
THE THEME of this issue of Inspire
is lust and desire, and the content is
both luxurious and slightly teasing.
“I started from that when creating
the cover,” says Inspire’s art director,
Fredrik Andersson. “The masque is
timeless and sensual and conveys a
secret feeling.”
The cover is printed in four colour offset
and two additional whites on Invercote
Creato 260 g/m2 with Brushprint
OLA SCHULTZ-EKLUND
Managing Director,
Workington mill
A radical
shift to
green bioenergy.”
Silver 47 g/m2 (12 g/m2 PE and 35 g/m2
Brushfoil) and matt varnish. The masque
is printed with blank UV varnish and
embossed in several levels for a enhanced
effect. The golden part of the masque
has additional embossing. The masque
appears on the reverse as well, in the form
of blank UV varnish and embossing.
“It’s a way to bring out the paperboard
and show how the embossing effect
changes with the light,” Andersson says.
www.iggesund.com #38 [2011] • inspire 3

InspIred Reducing waste
Text Nancy Pick Illustration Kari Modén
The Big FaT FooTprinT oF
WasTed Food
4 inspire •
#38 [2011]
When your parents told you not to waste food,
they were right in more ways than they perhaps realised.
It’s not just a matter of principle, but also
a matter of serious environmental consequences.
Do you toss out huNKs of Camembert without
thinking twice? Or leave yogurt in the bottom of the
carton? Most of us are guilty of such practices.
Studies show that Europeans waste huge amounts
of food, and only now are they starting to think about
the CO 2 consequences of bad habits and inefficient
packaging.
“Between 20 and 30 percent of the food we carry
home is thrown away,” says Per-Stefan Gersbro,
managing director of Packbridge, an international
packaging-industry consulting firm located in the
Swedish port city of Malmö. “We were shocked
www.iggesund.com

about the actual numbers. People don’t believe them
at first.”
Gersbro gives talks across Europe, raising awareness
about food waste and helping find solutions within the
packaging industry.
He tells people a surprising fact: Most foods have
a far bigger carbon footprint than their packages.
Cheese is a particularly dramatic example, because
cows burp up huge amounts of methane, a greenhouse
gas. If cheese waste could be reduced by selling
smaller units, the impact would be significant. In the
European Union, a 5 percent drop in cheese consumption
would save the equivalent of 4 million tonnes of
CO 2 every year.
The increased packaging would add back only a
small fraction of this savings amount. “You could
easily double the amount of packaging material for
cheese and still reduce the carbon load by quite a lot,”
says Gersbro.
As more and more people live alone, smaller packaging
is key. Other solutions might include:
Portion Packs. These allow consumers to use up
one section of food – whether pickled herring or pâté –
before opening another.
Easy-EmPty Packaging. As much as 10 or 15
percent of food can get left behind in the container.
Solving this problem might require changing the
package’s inner surface to make it more slippery.
rEclosablE Packaging. In this case, Europe could
follow the lead of the United States, where resealable
plastic zipper-type bags are already popular.
What about expiration dates? Gersbro says people
need to take them with a grain of salt. Too often,
consumers toss out fresh food that would remain good
for days or even weeks, merely because of the date
stamp. Instead, they should learn to rely more on taste
and smell.
Gersbro also educates people about the high cost
of waste. Every year, a typical four-person European
household spends 500 to 800 euros on food that
doesn’t get eaten. He says, “People start to realise,
‘With that much money, we could go on holiday.’”
Suddenly that hunk of leftover Camembert starts to
look a lot more appetising.
www.iggesund.com
Recycling
reconsidered
is recycled packaging always the best choice?
“yay for recycling!” say environmentalists.
Today recycling is widely considered
a saintly virtue. But in reality it doesn’t
always make sense to use recycled paper in
packaging, says Staffan Sjöberg, Iggesund
Paperboard’s environmental spokesman.
“What many people don’t realise is
that your choice of packaging material
should match your purpose,” he says.
“Recycled paper is not as strong as
virgin [paper], because the fibres wear
down every time you use them. If you
mix in recycled material, you lose stiffness.
You lose performance. To compensate,
you may have to increase the
weight of the paper.”
That increase creates environmental
consequences over the entire life of the
packaging. “If you have to increase the
weight by 20 percent,” says Sjöberg,
“then you have to produce 20 percent
more, you have to transport 20 percent
more, and finally you have to dispose of
20 percent more in the landfill.”
It all comes down to finding the right
match. For shoeboxes, using recycled
paperboard makes perfect sense, he
says, as shoes are not very sensitive.
For boxes that hold gourmet chocolate
truffles, however, virgin paperboard such
as Invercote is probably a better choice.
“If the product is sensitive to taint
and odour, then virgin is better.”
Also, Invercote and other multi-layered
virgin paperboards can be folded into
complex shapes without cracking in
the creases, and they provide an ideal
surface for printing.
Iggesund certainly does support recycling
as part of the sustainable system of
paperboard production. Virgin paperboard
comes from a renewable resource –
trees – that can be recycled or converted
into energy.
Still, paper and paperboard can only
be recycled three or four times before
its fibres break down too much to be
practical. “What would happen if we drove
only used cars, instead of new ones?”
Sjöberg asks.
#38 [2011] • inspire 5

LESSONS
IN
SEDUCTION
6 inspire • #38 [2011]
The concept is pure luxury, and the use of black-and-white
photography gives sophistication to the images. Since 1998, Aubade has
published an annual calendar with 12 erotic lingerie images.
Text Anna McQueen Photo Aubade and iStockphoto
www.iggesund.com

Avril
Le suspendre au bout d'un fil.
Leçon‚˚109
20
April 2011
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27
28 29 30
VEN SAM DIM LUN MAR MER JEU VEN SAM DIM LUN MAR MER JEU VEN SAM DIM LUN MAR MER JEU VEN SAM DIM LUN MAR MER MER JEU VEN SAM
FRI SAT SUN MON TUE WED THU FRI SAT SUN MON TUE WED THU FRI SAT SUN MON TUE WED THU FRI SAT SUN MON TUE WED WED THU FRI SAT
calendrier2011 v9.indd 6 14/06/10 09:38
Ph: Hervé LEWIS / Collection La Muse Endormie, Automne-Hiver 2010 / Fall-Winter 2010.
2011 11
Calendrier drier drier drie
Calendar Calendar
calendrier2011 v9.indd 1 14/06/10 09:37
THE FRENCH HAVE ALWAYS BEEN experts in the intimate
art of creating lingerie. After all, they invented
the word. And none has been more successful in
establishing an international reputation for being at
the cutting edge of all that is sexy and desirable than
the exclusive Gallic lingerie brand Aubade, which has
been creating beautiful underwear since 1875.
“We have always been innovators in terms of new
designs to help in the art of seduction,” says Claire
Masson, director of Aubade. “We were one of the � rst
companies to create strapless and halter-neck bras back
in 1972. We invented the � rst front-fastening bra two
years later. We were pioneers of the Tanga in 1979,
and in 2001 we invented the String Minimum, the
world’s smallest G-string weighing just � ve grams.”
But the Aubade brand is perhaps the most famous
for its fabulously sexy range of black-and-white advertising
photographs of beautiful lingerie-clad bodies
that exude lust and desire. The campaign is called
“Lessons in Seduction,” and its images contain seduction
hints such as “Feign indifference,” or “Keep them
hanging by a thread.”
“When the � rst campaign was created in 1992, it
caused quite a stir,” says Masson. “We had reports of
cars crashing because the drivers’ attention had been
caught – and held – by the images. Also, some bus
shelters were smashed because people wanted to steal
the posters.” Indeed, one young man was even arrested
for vandalism and � ned, teaching him a different kind
of lesson.
In 1998 Aubade created a calendar that contained
12 new erotic lingerie images in the same unique style
Janvier
N'être pas totalement blanche.
as the “Lessons” campaign photos and offered it as a
giveaway with the purchase of a lingerie set during the
holiday season. “We saw the success of the ‘Lessons’
and decided to produce a calendar so our fans could
enjoy our unique imagery at home,” Masson explains.
“Of course, we could have used it to generate revenue
on its own, but we prefer to gift it to our customers.
That way, we are partners in their seduction, as we
� nd most of our female customers give the calendar to
their partners.”
THE CONCEPT IS PURE luxury, and the use of blackand-white
photography lends a certain sophistication
to the images. The models’ faces are never shown,
which is further proof of the complicity Aubade
wants to encourage with its customers. “By leaving
off their faces, we are allowing women to imagine
themselves in the photographs,” says Masson. “It also
encourages their partners to imagine them in wearing
the lingerie.”
There is a regular trade in Aubade calendars
on Internet auction sites, where they exchange
hands at around 20 euros each.
Aubade is a brand that trades on its
traditional corsetry expertise and savoir faire
using the very best fabrics and trims. “Our
aim is to show women’s bodies at their
best,” says Masson, “working with them to
be as seductive as possible, both for themselves
and for their partners, whom we
believe are the happy victims of the game
of seduction we play.”
www.iggesund.com #38 [2011] • inspire 7
Leçon‚˚106
January 2011
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
SAM DIM LUN MAR MER JEU VEN SAM DIM LUN MAR MER JEU VEN SAM DIM LUN MAR MER JEU VEN SAM DIM LUN MAR MER JEU VEN SAM DIM LUN
SAT SUN MON TUE WED THU FRI SAT SUN MON TUE WED THU FRI SAT SUN MON TUE WED THU FRI SAT SUN MON TUE WED THU FRI SAT SUN MON
calendrier2011 v9.indd 3 14/06/10 09:37
Ph: Hervé LEWIS / Collection La Dame de Flandres, Automne-Hiver 2010 / Fall-Winter 2010.
Since 1998, the Aubade
calendar with its sophisticated
black-and-white
photograpy is a gift to
the customers.

8 inspire • #38 [2011]
Have to
Have It
Certain brands have the power to elicit
loyalty that borders on obsession.
Inspire takes an intimate look at how
products seduce us.
Text Jocelyn Hanamirian Illustration Team Hawaii
www.iggesund.com

Every month thousands
of people from Venezuela to Saudi Arabia convene to
discuss a common passion: their Harley-Davidson
motorcycles. Since Harley-Davidson started its Harley
Owners Group (H.O.G.) chapters in 1983, enthusiasts
in dozens of countries have met at dealerships to
discuss current events in the motorcycle world and to
organise group rides for charity. Some of these owners
have tattoos bearing the precise engine model powering
their bikes. Harley owner and parts specialist Sean
Sheinin explains that a fanatic can identify the distinct
rumble of a Harley engine at once. The tattoo is just
another way to sound off.
How do some brands command such devotion
from their consumers? And what, psychologically
speaking, motivates consumer obsession with certain
brands? While a fanatical consumer will tell you it’s
all about quality, quality is just the beginning.
Marketers use three metrics to measure a product’s
value to consumers: functional value, hedonic value
and symbolic value. While functionality is essential
to any product’s success and any enjoyment delivered
though consumption is a plus, what drives brand
obsession is its symbolic value, the ability of a product
to signal certain messages about the purchaser.
Joseph Nunes, associate professor of marketing
at the University of Southern California School of
Business, brings up Grey Goose vodka as a brand that
has successfully harnessed this value. “If you think of
vodka, it is a notoriously odd category, because vodka
is supposed to be this odourless, tasteless beverage,”
he says. “What Grey Goose has done is come out with
a campaign calling itself the best-tasting vodka in the
world. It has set itself apart as top shelf, and people use
that message at the bar when ordering their drinks.
They use what they’re drinking as a way to define their
identity.”
Put in psychological terms, says Dr April Lane Benson,
a New York-based psychologist who specialises
www.iggesund.com #38 [2011] • inspire 9

10 inspire • #38 [2011]
We tend to see these
brands as something like
people, and then the ones
that we like as something
we’re friends with.
And once you make really
good friends, it’s not that
easy to let them go.”
Joseph Nunes
www.iggesund.com

in compulsive buying disorder, people may consume
certain branded products in an attempt to “close the
gap between who we see ourselves to be and how we
want to be seen.” She cites clinical research that shows
that people who have become shopping-obsessed are
looking to fill this “self-discrepancy” gap.
Benson says that when treating a shoppingobsessed
patient, she tries to look at what it is they’re
really shopping for. Is it the need for love and affection?
The need to belong? The need for autonomy?
“We look at the ways [people use] to fulfil their needs
for creativity, discovery and engagement with sights,
sounds and textures – all things that shopping can
fulfil,” she says.
At the extremes of brand loyalty, a consumer will
sacrifice functional value for symbolic value, as in an
iPhone purchaser’s willingness to accept certain unsatisfactory
features for the cachet of buying an Apple
product. This is the payoff for the company’s cultivation
of associations with rebelliousness, design and
creativity, setting Apple apart from more functionally
oriented competitors such as IBM.
It’s not just high-end brands that speak to consumers’
psyches. Fred Richards, global executive creative
director for consumer packaged goods and executive
creative director North America for the brand
consultancy Interbrand, cites Starbucks as a company
that has successfully created the impression that when
customers order their coffee they buy into a lifestyle –
even creating a lingo particular to the chain.
Richards admits to possessing an irrational brand
obsession himself. “I’m a huge advocate of the Veuve
Clicquot brand [of champagne]. Is it better? I don’t
really know. But that doesn’t matter to me. I just enjoy
being seen with the brand, and I enjoy telling stories
about the brand with my friends. And I think that vernacular
between consumers is extremely important to
PAckAging desire
Interbrand’s Fred Richards
emphasises the importance of
packaging in fostering consumer
connection. “So many brands
get that so wrong,” he says. “The
package [on the] shelf should
be driving the loyalty, not some
sort of advertising campaign.”
According to Richards, companies
often misguidedly use
humorous commercials that may
leave viewers laughing but do not
necessarily create any memory of
the product being advertised.
Packaging creates a concrete
sensory impression and can also
help create a sense of reverence
for a brand. “We watch consumer
behaviour in stores,” Richards
says, “and even how they place
Consumers want to engage
with brands, now more than ever.”
Fred Richards
brand loyalty. It is very important that brands listen to
that and play it back in response, as part of their brandbuilding
mechanism. Consumers want to engage with
brands, now more than ever.”
One powerful strategy for connecting consumers
to brands is to associate one’s brand with something
that is already revered, says Tom Meyvis, associate
professor of marketing at New York University’s Stern
School of Business. Meyvis explains that Harley-
Davidson, founded in the United States in 1903, taps
into Americans’ strong feelings for their country.
Creating a sense of heritage can also be effective, such
as reminding consumers that they are using the same
brand that their fathers or grandfathers used, and the
H.O.G. chapters illustrate the power of creating a social
dynamic to brands. Tools such as word-of-mouth marketing
and social networking sites help brands create
appealing ownership communities.
Nunes points to celebrity endorsements and even
highly recognisable company leaders such as Apple’s
Steve Jobs as marketing strategies that strike a social
chord with consumers.
“We anthropomorphise brands,” Nunes says. “We
tend to see these brands as something like people, and
then the ones that we like as something we’re friends
with. And once you make really good friends, it’s not
that easy to let them go.”
items in a cart. If it’s something
they believe is very expensive,
they don’t want it to be damaged
or scraped. All of a sudden it’s
given a place of prominence in
the cart. It’s not really about
protecting it; they want people to
see they purchased it.”
For luxury goods and collectible
items, packaging is also
essential to conveying authenticity.
Marketing academic Joseph
Nunes says, “I do think that when
you’re trying to convey luxury,
the type of packaging that you’re
using speaks volumes to what’s
inside the box. There’s been a
huge push to improve packaging
and to make it more reflective of
what’s inside.”
www.iggesund.com #38 [2011] • inspire 11

photo istockphoto and shutterstock
Around the world, music draws people
together. Here is a sampling of five
festivals that suggest the amazing range
of music being celebrated in public.
COME
TOGETHER
Fulong Beach
TAIWAN
Crashing drums, throbbing
bass lines, grinding guitars,
gritty vocals and powerful
songs are what characterise
the Hohaiyan Rock Festival,
which has taken place every
July since 1999 at Fulong
Beach along Taiwan’s northeastern
coastline. The word
Hohaiyan comes from the
Amis, Taiwan’s aboriginal
population, and means
waves and the ocean.
The three-day
indie rock event
attracted some
600,000 visitors
this year. But
it’s not just the
music that draws
the crowds; it’s
the opportunity to
experience Asia’s new spirit
of youthful expression and
unadulterated cool.
JOHN SCOTT MARCHANT
12 inspire •
#38 [2011]
Essaouira
MOROCCO
The colorful Moroccan
coastal town of Essaouira
serves as the evocative
backdrop for the Gnawa (or
“Gnaoua”) and World Music
Festival, one of Africa’s top
musical gatherings. For the
uninitiated, Gnawa is a musical
form blending Sub-Saharan,
North African and slave
in� uences. Typically, the
three-string lute and heavy
metal castanets accompany
chants that are repeated in
songs that may last for hours.
Masters of the
genre perform at
Essaouira, often
in fusion concerts
along with guests
from the jazz and
world music
scene. Some
400,000
people attend
the annual
four-day
event.
ANNA MCQUEEN
Vilnius
LITHUANIA
Lithuanian rock star Andrius
Mamontovas really likes
street music. So much so,
that in 2007 he invited
musicians of all stripes –
professional and amateur
– to hit the streets, parks
and squares of Lithuania’s
Luverne
USA
Trombone suicides sound
dire, but they’re a common
event every autumn in the US
Midwest. Autumn is marching-band
season, and
“suicides” are fancy
moves done with the
trombone’s long brass
slide – a quick turn
sideways while the next
in line ducks out of the
way. Usually. At the
Tri-State Band Festival
in tiny Luverne, Minnesota,
some 7,000
bystanders arrive
every September
to watch some two
dozen school bands
parade down
Main Street.
A daylong
competition follows, when
the kids march into complex
formations on the football
� eld. Despite the occasional
collision, the activity is not
considered as dangerous as
American football.
NANCY PICK
capital Vilnius for a day of
raucous music-making. The
idea caught � re, so now thousands
of musicians ranging
from traditional folk bands
to avant-garde sound artists
pour into the city’s public
London
UK
Every summer since 1895,
London’s stunning Royal
Albert Hall has opened its
doors to classical music fans
of all backgrounds.
The BBC Proms, as
the festival is known
today, offers more
than 70 concerts
ranging from
traditional classic
masterpieces to
world premieres of
experimental new
sounds from internationalcomposers.
Affordable
entry prices,
including supercheap
standing
tickets in front of
the stage, ensure
that the 5,000-capacity
venue is always packed
and that everyone has
a chance to experience
some of the greatest
orchestras, vocalists and
conductors in the world.
EDDIE DE OLIVEIRA
spaces every � rst Saturday in
May. But Vilnius doesn’t have
all the fun; the Street Musician
Day festival has spread
to more than 30 Lithuanian
cities.
LINAS ALSENAS
www.iggesund.com

New York’s Marc Benhamou, the fourth designer to tackle Iggesund Paperboard’s
Black Box project, channels the ancient (and magic) art of tarot.
Text Jen Renzi Photo Axel Öberg
Iggesund’s Invercote your design! campaign offers selected designers the
opportunity to harness the possibilities of Invercote by filling a small black box
with something representative of themselves and their work.
THE BLACK BOX
PROJECT
IT’S IN
THE CARDS
DURING DESIGNER MARC BENHAMOU’S 15-year
career as a creative director, he has observed a little
something about the process of pitching concepts.
“Putting a number of ideas on the table and picking
one that will chart the future of the project is
very similar to reading tarot cards,” he says. “The
metaphorical connection between advertising and this
mystical game is something I always joke about at
meetings to relax clients.”
So when he was invited to participate in Iggesund
Paperboard’s Black Box project, Benhamou
immediately knew what should represent his work:
the 22 cards of the tarot’s Major Arcana, representing
such characters as the Hierophant, the Devil and
Temperance. “A tarot deck is something I’ve wanted
to envision – and to tie into my industry, beauty – for
10 years, ever since I bought a beautiful set painted by
Niki de Saint Phalle,” he explains. “Given Iggesund’s
speciality in the luxury business, and its many
cosmetics clients, it was a very nice connection.”
www.iggesund.com #38 [2011] • inspire 13

Each card is illustrated with a lush photograph
in the style of a splashy fashion spread. The Chariot
wears cleavage-baring Versace. The Fool’s tights-clad
legs perch on a pair of (foolishly tall) Pierre Hardy
stilettos. The Tower’s glass flaçon pours out a ribbon of
white lace. And Justice, a platinum-blonde ice queen,
sports Martin Margiela wraparound shades. The highconcept
images were shot by beauty-world veteran
Philippe Salomon in Manhattan’s Milk Studios (where
the campaign was launched in May) over four days
in January. “I pushed my luck,” says Benhamou.
“Shooting 22 images – and 22 extraordinary hair and
fashion looks – in that tight a time frame is a lot of
work. Usually you can expect to complete three or four
images max per day.”
Casting the right talent, from the model to the
makeup artist, was essential. To save time, Benhamou
used a second model for hand and body close-ups
and booked two adjacent stages so one shot could be
prepped while another was photographed. Despite
painstaking planning, setbacks occurred, including a
massive snowstorm and a computer crash – right after
they shot Death. “People freaked out at that, but I’m
not superstitious!” Benhamou says and laughs.
The latter glitch was particularly troublesome
because the images were being shot digitally and
edited on site. Despite his heavy reliance on digital
production, though, Benhamou is reflective about its
limitations. “Everything looks fantastic on a computer
screen, but so many problems arise when images get
translated to print,” he explains. “Luckily, the quality
of production and paperboard was so high here.”
The paperboard used for the cards was Invercote
Duo 370 g/m² with its reverse side printed black and
varnished for a mirror effect.
In fact, the designer conceived his tarot deck as an
opportunity to redress the ubiquity of digital overprinted
imagery. “With the rise of electronic media,
we’re starting to forget what a sensual experience it
is to touch beautiful paper with your hands,” he says.
“This kind of project can help refresh your memory.”
Marc Benhamou is a Paris-born, New York City-based creative director and
brand strategist specialising in beauty and fashion. He started his career
at Vogue, and moved on to work in-house at luxury cosmetics companies
including Estée Lauder and Lancôme. In 2009, he started his own fullservice
consultancy, Creative 360º, handling everything from advertising
and digital-media campaigns to product development and launches.
Recently he co-launched a side venture, Correspondance, a collective of
business-owners and executives specialized in fragrance and cosmetics.
His long-time obsession with tarot, he explains, is about artistry rather
than mysticism. “Tarot is extremely complicated, and I make no pretence
whatsoever that I know anything about reading cards,” he says. “I’m
primarily interested in the graphics, the symbolism and the metaphors,
which are similar to those you find in surrealist paintings – a relationship
between art and magic.”
14 inspire • #38 [2011]
www.iggesund.com

Pasta in a
black box
In Italy, the Brunazzi family took on the
black box challenge with gusto, creating
a traditional pasta strainer and server
complete with pasta and sauce.
Text claudia Flisi Photo Maurizio camagna
When Iggesund called desIgners Brunazzi &
Associati of Turin, Italy, to participate in its Black Box
project, the reaction by the entire Brunazzi family was
enthusiastic. Company founder Giovanni Brunazzi,
son Andrea, who focuses on design, and daughter
Ada, a graphics-trained copywriter and a recognised
photographer, agreed immediately. “We were
thrilled,” recalls Ada. “What a great idea!”
They decided that they wanted to do something
practical, something that would be seen as useful in
some way. Andrea’s design ideas often come from
natural forms, revisited to make them practical as well
as innovative, explains Ada, so their first thought was
to develop a packaging that might be used for one of
their clients – a producer of tea products and herbal
infusions.
The concept was a basket-like container that
would hold the teas and make them visible and more
appealing to the consumer. They designed packaging
along these lines with folds and perforations, but
weren’t convinced. “While we were trying to figure
out what direction to take, Andrea said, ‘Gee, this
package looks like a scolapasta (pasta strainer),’ and
that got us going,” explains Ada.
“You have to remember that pasta is practically part
of the DNA of an Italian,” she continues. “Pasta evokes
home and mama and the family table and tradition.
We loved that idea and decided to run with it.”
The Brunazzis chose Invercote Bio at a 400 g/m 2
weight for the pasta strainer. It is made with a single
sheet of paperboard with polythene on one side,
creased and die cut so as to eliminate the need for glue.
Its properties include strength, impermeability and
flavour neutrality, which means that although the
paperboard is in direct contact with the food, it does
not transfer a paper smell or taste.
Family influence is strong in Italy, as the lives of siblings
ada and andrea Brunazzi’s confirm. They are principals in
Brunazzi & Associati, founded in 1985 in Turin, Italy, by
their father, Giovanni Brunazzi. The agency specialises in
corporate identity, packaging, and communication.
Beside her work at the agency, Ada has passion for
photography. She has studied with Giuliano Cappelli
and Gianni Giorgi and her photos are seen in calendars
and various publications and exhibitions. She made the
semi-finals for Photographer of the Year of the Natural
History Museum of London twice in recent years (2008
and 2009). In her free time Ada is a mountaineer, and has
climbed a number of 6,000-metre peaks in various parts
of the world.
Andrea is the creative director at Brunazzi & Associati.
In addition he lectures at various universities. Currently
he is a lecturer of design at Università Cattolica of Milan
and packaging at Politecnico di Torino. Since 2003 he
has also been the editor-in-chief of Il Registro the official
magazine of Registro Fiat Italiano. He has contributed to
many graphic and architectural publications and earned
awards in international and national competitions.
The accompanying pasta server (molletta) is made
of Invercote G Metalprint in polished silver, with a
weight of 670 grams. It also consists of a single sheet
of paperboard without glue; instead it is creased and
die cut to achieve the desired form.
The final project contains the strainer and real pasta
(not paper) from an artisanal company in Turin, plus
the paper molletta and a package of dehydrated sauce
made by an another agency client.
The Brunazzis know the contents of their black box
can actually be used because they tried it out several
times to make sure. The molletta is for show rather
than utility, according to Ada, but the scolapasta works
perfectly.
www.iggesund.com #38 [2011] • inspire 15

Housed in an old
industrial building, the small, elegant
pâtisserie and
confectionery Dessert&Choklad Stockholm operates
far from the city’s main shopping areas. But it’s an easy
place to � � nd once you get in the vicinity. Just close
your eyes and follow the alluring aroma of chocolate.
Launched � � ve years ago, Dessert&Choklad Stockholm
focuses on top-quality chocolates, using the
highest quality of ingredients as well as excellent
service and presentation. The store appears much like
an exclusive jewellery shop, with items behind glass or
tantalisingly displayed on small trays. Each truf� truf� e is
visible, creating a veritable feast for the eyes.
The company’s co-owner, Ted Johansson, is one
of Sweden’s best-known and most highly acclaimed
confectioners (he was a member of the Swedish
National Cooking Team for six years). It was when he
was working at a two-star restaurant in the UK that
he had an epiphany that led to the development of
Dessert&Choklad Stockholm.
“In the UK I came to fully realise the importance of
working with seasonal ingredients such as fresh fruit
and berries,” says Johansson. “That’s how we work
16 inspire • #38 [2011]
EXQUISITE
CRAFTSMANSHIP
Shiny, crisp and easy to the touch. A fitting description of a fine chocolate.
For a devoted confectioner, a truffle is primarily an interplay between the habitat
of the cacao bean and the season’s finest ingredients. The perfect chocolate truffle is
the result of sense and sensibility, in equal measure. Which is perhaps why it has
become such a timeless symbol of luxuriant pleasure.
Text Anne Hammarskjöld Photo Shutterstock
here. The raw produce governs what we make and sell.
For example, the other day we received a couple of
boxes of organic oranges from Sicily. They were all different
shapes and sizes, and they weren’t that pretty.
But the � avour! So right now we’re making desserts
and truf� es with oranges and lemons.”
This meticulous approach to raw produce naturally
also includes the chocolate itself. For Johansson the
terroir – habitat and local conditions – of the cacao
bean is crucial in deciding whether or not it will
become a Dessert&Choklad Stockholm truf� e.
“We select the chocolate based on the taste, and
work with several different types,” he says. “Sometimes,
for example, a more acidic � avour works well
as a casing for a raspberry truf� e, while a spicier kind
suits a dark chocolate truf� e. The main challenge lies
in striking the best balance in the combination of
chocolate type and � lling. For me it’s not enough to
just make truf� es. I’m interested in the whole process,
from the raw bean to the point of sale.”
ONE CAN TELL A FINE TRUFFLE by its shiny surface,
the brittle “crack” against the teeth, and the fact that
it doesn’t melt on your � ngers. That kind of quality
is the result of “ tempering”, whereby the chocolate is
heated to 55 degrees Celsius, gradually reduced to 26
degrees and then raised again to 32 degrees. This is
the ideal working temperature for making the truf� e
www.iggesund.com

www.iggesund.com

When you buy a bottle of wine,
you don’t ask for one with 14
percent alcohol. You ask for a
grape or a country. I wish we
could think of chocolate in the
same way.”
Ted Johansson
casing. The � lling is an entirely separate challenge.
A truf� e � lling, or ganache, comprises cream and
chocolate that is � avoured in a wide variety of ways.
Creating the perfect � lling is a tough process. There
has to be a certain percentage of sugar and a certain
percentage of fat, and it has to be right from the
start. Precision, freshness and purity are paramount.
Johansson’s truf� es are characterised by what he terms
“classically pure” � avours.
“Concentrated � avours are classic quality for me,”
he says. “I’m not interested in the bizarre. I want to
offer a � avour experience you can be sure you’ll like. I
leave the truf� es with blue cheese � lling to others. We
want 100 percent of our customers to like the � avour
they choose, and the season plays a guiding role as far
as possible.”
DESSERT&CHOKLAD Stockholm’s chocolate truf� es are
perishable, made two or three times a week in a slow
season and every day in the run-up to Christmas. The
range encompasses many different elements, including
cardamom, nuts, marmalades and jams, liqueurs
and even the best-selling salted caramel. Johansson
himself favours a South American � avour.
“I wouldn’t sell anything I didn’t like,” he says.
“But if I had to choose a personal favourite it would
probably be the dark truf� e with cream and chocolate,
partly because it needs an amazing chocolate. Ours
comes from Venezuela and is slightly acidic.”
For Johansson, the origin of the cacao bean is as
18 inspire • #38 [2011]
fascinating and important as the origin of the grape
would be to a connoisseur of wine. He doesn’t understand
the focus in recent years on cocoa content.
“When you buy a bottle of wine, you don’t ask
for one with 14 percent alcohol,” Johansson explains.
“You ask for a grape or a country. I wish we could
think of chocolate in the same way. When you buy
a bar of chocolate, look at the ingredients list. It’s
a good sign if the bean is speci� ed, but what you
should really look for is the term ‘single estate’, which
means the bean has been grown in a speci� c location.
Then the chocolate is like a vintage wine, with a different
� avour from one year to the next. That experience
has nothing to do with the percentage of cocoa
content.”
Johansson says there are a few important things
to remember about keeping and enjoying chocolate
truf� es at their best (apart from lying on the sofa with
a box to yourself).
“The most important thing is not to put truf� es in
the fridge,” he says. “The coldness causes the sugar to
condense and form a � lm on the chocolate. Also, don’t
keep chocolate alongside spices, as it absorbs � avours
very easily. The best thing is to have the box on the
coffee table within easy reach so you can enjoy a couple
of truf� es on special occasions.”
After that, it is of course up to the individual to
decide what’s a special occasion. Perhaps it’s simplest
to follow Oscar Wilde’s recommendation: “The only
way to get rid of temptation is to yield to it.”
www.iggesund.com

Confident taste
buds test
the paperboard
A heart-shaped box of � ne chocolates
is a symbol of luxury, affection
and the good things in life. It’s also a
symbol of immense knowledge and
meticulous analysis and preparation
– in terms of both the chocolates
and the box.
Strict demands are placed on
the Invercote paperboard used in a
chocolate box. It must not absorb
� avours or, worse, transfer � avours
to the chocolate. This is where the
sensory laboratory at Iggesund
Paperboard plays a key role.
In addition to a host of highly
advanced measurement and analysis
instruments, the sensory lab
relies on a sensory panel of around
25 people, who test and evaluate
products that are either � nished or
under development. When it comes
to products to be used in chocolate
boxes, for example, a taste test is an
important stage in the development
process. The tests are blind so the
panel members don’t know exactly
what is being tested or why.
Each taste test follows a carefully
developed and evaluated process.
The paperboard samples to be
tested are each placed in a glass
vessel. Ground chocolate is also
placed in each vessel in such a way
that the paperboard and chocolate
do not come into direct contact, and
a salt solution is used to ensure that
the moisture content in the vessels
is kept at a constant 75 percent.
The vessels are sealed with lids,
covered with foil and placed in a
temperature-regulated room for 48
hours. The panel members then
taste each sample to determine
whether the paperboard has affected
the chocolate, comparing the
samples with a reference chocolate
that has not been in indirect contact
with paperboard. A chocolate called
Fazer Blå is used because its � avour
quality is very consistent over time.
The panel � rst tastes the reference
piece, then the samples one at a
time. Each tasting is assessed on a
scale of 0 to 4, where 0 means “no
deviation from reference” and 4
means “strong deviation from reference.”
The panel members taste the
samples in different orders to avoid
the results of one test affecting the
others.
Iggesund’s Laboratory for Sensory
and Chemical Analyses is the
only sensory lab in Sweden to be
accredited by Swedac, the Swedish
Board for Accreditation and Conformity
Assessment.
www.iggesund.com #38 [2011] • inspire 19

20 inspire • #38 [2011]
Heaven
scent
In fashion, looks are everything. That truism doesn’t exclude
perfume, and the packaging for the new Fan di Fendi is simply divine.
Inspire takes a behind-the-scenes look at its creation.
One marketing channel for
the Fan di Fendi perfume is a
filmed advertisment for TV.
www.iggesund.com

Text Anna McQueen Photo Fendi
IN AUGUST 2010, Italian fashion house Fendi launched
its latest fragrance, Fan di Fendi, a fresh new fragrance
with fresh new packaging that embodies the Fendi
brand.
“We embarked on the project at the start of 2009,”
explains Sophie Fouilleron-Savino, marketing director
for parent company LVMH. “Fendi had released some
perfume ranges previously, but our aim here was to
create a truly emblematic fragrance for the brand.
“We did a lot of research into the brand’s different
codes,” she recalls, “and the resulting idea was simple.
We took Fendi’s most iconic accessory, the baguette
bag – the � rst ever ‘it’ bag with over a million units
sold – and took inspiration from the metal ‘Forever’
buckle used to fasten the bag. This metal representation
of the Fendi brand was our starting point, and
from that we worked on the bottle to create an object
that was truly aligned to the brand.”
Fendi wanted to create a sophisticated fragrance that
would be appealing to a wide number of consumers and
would be the very embodiment the Fendi signature.
As a result, Fan di Fendi releases fresh and sparkling
top notes, with a � oral heart of rose and yellow jasmine.
The base notes are patchouli and leather, which gives
a very modern discreet animal scent. Explains Fouilleron-Savino:
“The scent is what we call a fragrance de
peau; it evolves in different ways depending on one’s
skin. Fan di Fendi is an homage to this great Italian
fashion house’s historical expertise, but at the same
time, it is very feminine and very sophisticated.”
Fendi’s traditional expertise is in leather goods and
fur, and for many it is the epitome of exclusive fashion
and design. “The Fendi brand is the ultimate in luxury
goods,” says Fouilleron-Savino. “And we wanted
to express that – not just through the fragrance but
through the bottle and packaging too, with a level of
quality that has never before been seen in a fragrance.”
The Fan di Fendi bottle offers very pure lines in
heavy glass and metal. The heavy iconic “Forever”
buckle of two F’s sits just above the glass and is
engraved like a gold bar. The bottle is topped with a
lid made of solid zamak, which feels delightfully cold
to the touch. It is simple and sophisticated.
The carton is designed to reinforce the emblematic
corporate identity, using Fendi’s signature sunshineyellow
colour for a strong visual impact. The graphic
concept is simple, yet the different textures offer a
very high-end feel. “The packaging is critical to its
overall identity of a fragrance,” says Fouilleron-Savino.
“The perfume may be the heart of the product, but the
bottle and the packaging are what make the dream. It
must be an object of desire to succeed, and the packag-
ing is probably the most important factor for that
desirability.”
The box was created by Paris-based packaging
company Nortier Emballages, which specialises in
high-end boxes for the luxury goods industry. “The
biggest challenge with this project was the grain,”
explains Maud Fleuret-Dieulot. “Fendi wanted the
same grain on the carton that they use in all their other
packaging, and we had to reproduce the exact same
relief effect. We did it using Invercote, which lends
itself perfectly to this technique.”
ANOTHER CHALLENGE WAS in the printing of the fragrance
name. “We needed the gold text to really shine
out and for each character to have a smooth, rounded
appearance, so we used a hot-foil stamping technique
combined with embossing,” says Fleuret-Dieulot.
“We also had to � nd the right varnish to suit production.
We had to create the right feel whilst respecting
the industrial constraints regarding the customer’s
packaging line.”
Explains Fouilleron-Savino: “Communication
through a fragrance’s box might seem simple, but
in fact it is quite tricky because the carton offers
relatively limited opportunities for expression. But
technological advances in the packaging world mean
we can now do magni� cent things, and the palette of
possibilities is very stimulating. It is essential to transcribe
the richness of the fragrance into the package,
and I believe we’ve achieved that here. How the box
feels to the � ngertips is absolutely critical.”
Fendi was created in 1925 with the launch of the
company’s � rst handbag shop and fur workshop in
Rome and has since been run by the women in the
Fendi family, along with a little help from creative
director Karl Lagerfeld. “It’s a very female-oriented
brand, created and run by generations of Fendi women
who unleash their unbridled creativity on each new
collection,” Fouilleron-Savino says. “It sets its own
trends, and this is clearly re� ected in Fan di Fendi.”
THE PACKAGE
Boxes for the Fan di Fendi
fragrance and bath range are
made with Invercote G 300 g/m2
using offset printing with four
colours and two varnishes on
the print side, and one colour
and one varnish on the reverse.
A process of texturing provides
the Fendi grain, and the logos
are hot-foil stamped in rounded
gold characters.
How the box
feels to the
� ngertips is
absolutely
critical.”
Sophie Fouilleron-Savino
www.iggesund.com #38 [2011] • inspire 21

DESIRED Objects
Photo Martin Sundström
CUTTING-EDGE
DESIGN
Product packaging
Client: Brusletto & CO, Norway
Creative print design: Ideloftet, Norway
Technical design: Eson Pac, Sweden
Printing and conversion: Eson Pac, Sweden
Material: Invercote Duo 570 g/m2
Technique: Offset print, hot-foil stamping
in silver, spot UV varnish and embossing.
22 inspire • #38 [2011]
Hunter Premium is an exclusive hunting knife from the � ne
old knife-maker Brusletto. The beautiful hunting knife with a
wooden handle obviously had to have a suitable packaging.
“A premium product like this requires premium paperboard
packaging, both for printability and strength,” says
Eirik Faukland of Eson Pac, the company behind the conversion
and printing of the packaging.
The packaging comprises three sections, all made from
Invercote Duo 570 g/m2.
“Invercote is probably the only paperboard in the world
that can meet all the quality requirements of a production
like this,” says Faukland.
The techniques used in production were offset print with
hot-foil stamping in silver, spot UV varnish and embossing.
The silver foil consists of very thin stripes, which are highly
demanding both for the process and the material.
ALESSIA WISTÉN
www.iggesund.com

Client: Heudorf Kommunikationsberatung, Germany
Designer: Heudorf Kommunikationsberatung, Germany
Printing, catalogue: Gmähle Scheel Print
Medien GmbH, Germany
Printing, packaging: db Druckerei Bauer GmbH, Germany
Material: Invercote Creato 300 g/m2
Techniques: Catalogue: Offset printing,
dispersion varnish. Gift pack: Offset printing,
dispersion varnish, die-cutting, creasing and gluing.
POCKET ART
Gift pack
KunstKarte D.A.CH. is a gift pack containing
art cards that give the owner free admission to
art museums in Germany, Austria, Liechtenstein
and Switzerland. The pack also contains a
240-page catalogue describing the various
exhibitions. Originally KunstKarte D.A.CH. was
intended as a corporate gift, but today it is also
sold to the general public.
The � rst KunstKarte came out in 2002. Over
the years the catalogue and the cards have been
adorned with various well-known works of art.
This year they feature the Sistine Madonna by
Raphael. Both the paperboard and the catalogue
cover are printed on Invercote Creato 300 g/m2.
“When the customer opens the box, it’s vital
that the cover is the same colour,” says Isabella
Heudorf. “That’s why we chose Invercote Creato
for that as well.”
Heudorf uses Invercote Creato for all its packs
and folders, she says, because of its � exibility
and excellent printing results.
ALESSIA WISTÉN
MARZIPAN WITH
A HISTORY
Product packaging
Lübeck in Germany is renowned for its
� ne-tasting marzipan. One of the best-known
producers is Niederegger, founded in 1806.
In Lübeck the company also has a museum and
a popular café. The simple white packaging
with the Niederegger logo in focus re� ects
the company’s philosophy – that the marzipan
should speak for itself. Incada Silk 350 g/m2
was chosen because of its whiteness, which
is the perfect background for the red of the
company name.
ALESSIA WISTÉN
Client: J.G. Niederegger GmbH
& Co. KG, Germany
Designer: J.G. Niederegger
GmbH & Co. KG, Germany
Printing: Faltschachtel Hamburg,
Germany
Material: Incada Silk 350 g/m2
Techniques: Printing, die-cutting
and gluing.
DESIRED Objects
Photos Sanna Skerdén
“Lübeck in Germany is renowned
for its � ne-tasting marzipan.”
Do you have any ideas for the Desired Objects pages? We’re looking for innovative packaging design and graphic products that feature material from Iggesund Paperboard.
Please send in samples, along with background information to: Inspire, Iggesund Paperboard, SE-825 80 Iggesund, Sweden.
www.iggesund.com #38 [2011] • inspire 23

PROFILED Innovator
Text Alessia Wistén Photo Jonny Lindh
CREATIVE
WASTE
Manufacturing industry waste is
transformed into exciting design
products on Erik Thorstensson’s
drawing table.
PLASTIC FROM PERFUME packaging
becomes a wallet, tennis courts become
magazine holders, lampshades become
clothes pegs. Erik Thorstensson and his
partners Petter Danielson and Oscar
Ternbom of the company Creatables use
waste from the manufacturing industry
to create new products. Imagination
is the only limit – and imagination is
something Thorstensson appears to have
in bucket loads.
“You have to let your ideas digest and
incubate, and then the solutions suddenly
appear,” he says.
In most cases it’s the company behind
the waste products that manufactures
the Creatables product.
“That’s where the main environmental
bene� t is,” Thorstensson says. “A lot
of the time they simply have to reset a
tool, and there’s often someone at the
factory who has a bit of spare time on
their hands.”
But Creatables isn’t out to make a lot
of money. On several occasions Thorstensson
and his colleagues have turned
down venture capitalists wanting to
invest in their company.
“I do this because I’m an idealist, and
it’s a hell of a lot of fun,” he says. “And
maybe also because I have delusions of
grandeur.”
24 inspire •
#38 [2011]
A magazine holder made
from tennis court material
is one of several items
made by Creatables.
www.iggesund.com

Student designers in
France take up the
Invercote challenge,
spurred on by the
opportunity to create
a product and at the
same time win a trip
to Iggesund.
Text Anna McQueen Photo Rolf Andersson
A STRATE
APPROACH TO A CORPORATE GIFT
STRATE COLLEGE in suburban Paris is a highly reputed
design school with some 450 students. Claire Le Sage,
a teacher there for the past � ve years, recently ran a
weeklong packaging workshop for third-year students
in collaboration with Iggesund on the theme “The
Board Creates a Surprise – Offer Iggesund Something
to Offer.”
“Professional partnerships are essential to students
today,” Le Sage explains. “So when Iggesund
approached us, we were very pleased. It’s the best way
for students to understand what’s at stake out there.”
To de� ne the project, Iggesund Marketing Assistant
Melodie Logan worked with Jean-Paul Cornillon,
director of the college’s Packaging, Product & Retail
department. Logan recalls, “The idea was to have students
use Invercote to design a corporate giveaway for
us, with the prize being a trip to Iggesund.”
The workshop took place in November 2010 and
involved 26 students. “It was extremely intense,”
says Le Sage, “but exciting too, particularly with the
motivation of the prize.”
The students set out to create a product linked to
the idea of giving and generosity, whilst presenting
Invercote in the best possible light. They brainstormed
to identify the different practices and uses
they could get out of a list of themes that included
travel, indulgence and leisure. From this they came up
with what they felt would be the most interesting to
create using the qualities of Invercote.
For example, Maris Kase and Sara Khan came up
with a credit card-shaped USB key that � ts into a wallet.
“At � rst, you have no idea it’s a USB key, so it’s a
surprise,” says Kase. “Then, inside, we created a minicatalogue
of varnishes.”
Stéphanie Wong created a forest-scented paper fragrance
diffuser designed like a cross-section of wood.
“I’m a big fan of Swedish design,” she says. “It’s very
natural and pure.”
The winners of the competition were Samy Burban
and Quentin Rémy. They created a box with nine
different compartments, each containing a tiny gift.
“We love the playful nature of the box,” says Rémy.
“It’s like an advent calendar, all about anticipation and
surprise. Invercote is very interesting, as you can do so
much with it. It’s amazingly � exible. And getting the
chance to work on a real project is fantastic.”
Professional
partnerships
are essential
to students
today”
Claire Le Sage,
Strate College
www.iggesund.com #38 [2011] • inspire 25

INFORMED Iggesund news
INSPIRATION
IN THE COLD
26 inspire • #38 [2011]
EIGHT EUROPEAN DESIGNERS visited Iggesund
in February to tour the forest and the
paper mill. The participants experienced a
real Nordic winter, with temperatures falling
to 29˚C below zero, but were supplied
with thick coats and boots before the forest
tour.
Apart from the outdoor activities,
the designers had two creative sessions.
Together with the Iggesund artistin-residence
Inger Drougge-Carlberg
they worked on a large art piece made
IGGESUND’S PARENT COMPANY Holmen
has decided to invest strongly to switch the
energy supply at Iggesund’s paperboard mill
in Workington, UK, from fossil natural gas
to biofuels. The planned biofuel plant will
supply all the mill’s energy needs, both as
electricity and as thermal energy.
Furthermore, VindIn – a wind power company
owned jointly by Holmen and other companies
with large energy needs – has signed an
agreement with Siemens for the construction
of at least 25 wind turbines at two hilltop
locations in central Sweden.
Pulp art.
of pulp and Niklas Fagerholm, who
teaches packaging design at Mid Sweden
University, led a workshop where the
participants cut and folded paperboard
from Iggesund.
The designers were part of Iggesund’s
“Designer’s Club,” an international group
of packaging and graphic designers. The
group was created to develop the designers’
awareness of Invercote and Incada and
to bring them inspiration and a different
approach to paperboard.
INVESTING
FOSSILE
FREE
Photo: istockphoto
IGGESUND
BECOMES
A BRAND
LAST DECEMBER, the Swedish
Court of Appeals for Patent Issues
ruled that “Iggesund” isn’t just
the name of a town. It is also a
brand name that belongs to Iggesund
Paperboard.
“We are of course very
pleased,” says Market Communications
Director Carlo Einarsson.
“Now we are one of a few Swedish
companies that can use the name
of a town as a brand name. The
ownership issue is important from
another point of view. It gives
us a signi� cant freedom and
strength when we communicate.”
In the 19th century Iggesund
was registered as a brand name
by Iggesund’s Bruk, but over time
the issue fell into oblivion. When
Iggesund Paperboard tried to reregister
a couple of years ago, the
request was denied; new regulations
rule out the registration of
a town’s name as a brand name.
“In order to convince the authorities
we had to dig deep into
our history and � nd evidence of
the very close connection that has
always been between the town
and the mill,” Einarsson says.
“We also proved that people working
professionally with paper in
the international market associate
the name Iggesund with paperboard
and quality.
“We have always regarded
Iggesund as a brand name along
with Invercote and Incada – not
as a product but as a guarantee
for service and knowledge.”
Photo: istockphoto
www.iggesund.com

PARIS
LONDON
NEW YORK
HAmbuRg
Think inside the box. Normally designers are called upon to think outside the box.
What would happen if you asked the world’s most pre-eminent designers to do the opposite –
to summon all their creative inspiration and think inside the box? We did!
Visit iggesund.com/blackbox to see more …
YOUR DREAMS
Be prepared for the next Black Box Event coming to Hamburg in autumn 2011.
Get more info online: iggesund.com/events
iggesund.com

CO11015E